I recently returned from the Grand Staircase Escalante National Monument in southern Utah. Despite living just a few hours away, I’d never visited the area and I was ecstatic to be headed down to a new spot with good friends.

Of course, no photographer can go anywhere without first hemming and hawing over what gear to take. You see, cameras are very much like skis these days—there’s one for every application, every condition, every pet portrait session, every uncle’s brother’s wedding, blah blah blah. You get the point.

I took my full DSLR kit to have on hand for the car camping portion of the trip, but elected to take just my little Sony RX100 III for the hiking and backpacking portion through several slot canyons and Coyote Gulch. In this review, I’ll share my experience on how the camera performed in the hands of an experienced professional accustomed to hauling (and shooting) a big heavy DSLR (that churns out exceptional imagery mind you).

It’s worth noting that this trip was a trip with buddies. It was not a trip predicated upon photography. I knew my shooting style would need to be very run n’ gun. I knew that I wouldn’t have much time to switch lenses, ask my buddies to “do it again” or even throw my pack down and dive in for additional gear.

It’s also worth noting that this wasn’t a particularly tough trip in terms of mileage and/or elevation, so while the weight and space savings was a huge bonus, I certainly could have dealt with the extra load of my usual setup, but this would serve as a good test run for those times when weight and space savings really are crucial. I was most intrigued at the thought of JUST having this little point and shoot to work with. I viewed it as a challenge of sorts, yet there really wasn’t much of a challenge at all as I was blessed with exceptional conditions for a good portion of the trip, and the camera proved itself very capable.

Finally, it’s also worth noting that a good portion of the shooting I was doing would be largely documentary. We would be hiking (and I would be shooting) in less than ideal light, but I still wanted to be able to freely document the trip and location.

I bring this up because I think it’s important to understand the variables that come into play for me when deciding which camera to use at any given time or scenario. Additionally, you may or may not identify with many of these variables, which are super important to consider when deciding which camera is the right camera for you to purchase for yourself.

My kit consisted of the Sony RX100III (24 – 70mm lens, 20 MP full frame sensor), several P-size Singh Ray Grad ND Filters, a Singh Ray LB Warming Polarizer (paired to the camera with the help of a lensmate adaptor), my trusty Gitzo GT1551T tripod and a Joby gorilla tripod. All in all, the entire kit weighed in at a bit less than 7 lbs. Read: holy moly I feel like I’m walking on air.

Overall, the camera performed like a champ. Especially being paired with the right tools, and my usual cadre of filters, I can honestly say that there were very few times where I felt handicapped at all (keep in mind I’m comparing this experience to my typical shooting experience with a Canon 1DX). Occasionally, I hoped for a bit wider angle lens (as I knew I would), but 24mm is no slouch. My biggest oversight in using this camera was battery life. I am accustomed to a big, beefy battery. I hadn’t even considered the need for a second battery until…it died. Oh well, it died doing what it loved, right??? I got about 800 shots out of it, and then I was relegated to (gasp) the iPhone for the remainder of the hike out. The batteries are teeny, and I would have gladly packed an extra two or three. Oh well—live and learn.

Read on for a few more thoughts on my experience with this camera. Also–it’s worth noting there are MANY features of this camera that are not listed here. I’m not familiar with all of these features, and some of them don’t apply to my most common shooting scenarios. That said, there is a lot of functionality in this camera for all types of shooters.

Plus:

1. This camera is obviously exceptionally light and small. Is it a 12 fps full frame monster? No! And that’s the beauty. It’s a little mini powerhouse that churns out amazing images when shot properly (note: when shot properly—this applies to any camera). I packed the camera in a small Lowe Pro pouch and threaded it through the chest strap on my backpack. It was right there. All the time, every time. No neck or shoulder pain from having the camera around my neck/shoulders. It was so easy. I stashed my filters on the side pocket of my Arc’teryx Altra 75 backpack, which made for easy access without taking the pack off.

2. The articulating LCD screen is awesome. One thing I love about these LCD screens is being able to shoot at angles other than eye level and still able to see what you’re framing up. I always find myself shooting a great deal from waist level or even ground level with this camera, always looking at the LCD screen folded out. Side note: I do wish the LCD swiveled out so I could use it in the above situations when shooting vertically as well.

3. Digital Level. In concert with what I just noted above, I love the digital level (can be visible on both the LCD screen AND the viewfinder). When not shooting at eye level (as well as when shooting on the go), it can be difficult to make sure the camera is level. While this is obviously fixable in post, it saves lots of time (and image info!) when you don’t have to level and crop after the fact.

4. Excellent Image Quality. Especially given its size, this camera delivers huge on the quality scale. Dynamic range is legit, but most importantly, I’m impressed with how clean the files are for a point and shoot camera costing less than most lenses for my DSLR. Does it stand up to files from my 1DX? Not quite, in my opinion, but that would be an apples to oranges comparison. Previous to this camera, I could never convince myself to seriously shoot a P&S—I was just never seeing the image quality I needed. That has changed with the RX100III. You’re not going to be reproducing these images on billboards, but I am very comfortable submitting these images for editorial publication, other stock usage, etc.

5. Full (intuitive) Manual Control and Manual Focus. Like most serious point and shoot cameras, the RX100III offers full manual control. The front “focus” ring can be set to adjust aperture when shooting in manual mode. This makes for quick and easy (simultaneous) adjustments without having to press an additional button to switch between shutter speed and aperture. Additionally, the manual focus setting is just a button push away, and focus peaking makes for easy assessment as to what is actually in focus in your frame.

6. Functional Viewfinder. The Sony RX100III has a legitimate electronic viewfinder which, oddly enough, puts it in a category of its own above most other similar competitors. Despite the large LCD screen, there are still times when I like to shoot through the viewfinder—it’s nice to have it when you want it for sure.

7. Wi-Fi. So awesome to be able to transfer images to your phone directly from the camera. For the life of me, I can’t figure out why this isn’t a standard feature on all professional grade cameras these days.

8. Intelligent Auto Mode. Yes, I admit it. I use auto in this camera sometimes. And really, the intelligent auto mode is quite good. There’s plenty of times when I’ll prefer to shoot in full manual, but when I’m really pinched for prep time and/or simply shooting from the hip, this mode performs surprisingly well.

9. Image Stabilization. The in-camera image stabilization is dialed in and I found it to be especially helpful when shooting in low-light situations, particularly in the slot canyons where many of the images I was shooting were in the 1/20 sec. range.

Minus:

1. Small size. What? Wait…you thought that was a plus, right? Really, it’s more a plus than a minus, but for those of us accustomed to shooting larger cameras, shooting a small point & shoot takes some adjustment for sure. This, along with truly utilizing the full functionality of the camera through preset and custom preferences simply takes time to get used to. I will say I wish I would’ve had the wrist lanyard on the camera when quickly trying to grab and use my filters.

2. Battery life. Mentioned above, this was something that caught me by surprise. I think the battery actually performs very well for a camera (and battery) of this size, but it is a downside of using a smaller camera for sure. As I mentioned above, the batteries are so small that you could even pack as many as 5 extra batteries and you wouldn’t even notice the extra weight or clutter.

3. Lens range. I’d love to see something in the range of 16mm – 135mm. Pipe dream??? Probably. Again, this is something that simply needs to be considered when you’re comparing this camera to other options. Despite the lens limitations, with a 20 MP file, you can crop in a decent amount and still come away with a quality image if needs be (as seen above).

4. Low light shooting. As expected, this camera is not particularly at home when shooting in low light. I hesitated to go much higher than ISO 400, though I’ve always said it’s better to have a sharp, grainy image then a soft image with less grain. I think you simply have to know that this camera performs best in standard lighting situations.

5. No hotshoe for larger flashes. While I don’t shoot a lot of flash photography, it would be nice to have this option on top. Not a deal breaker by any means, but worth mentioning. The (small) built in flash does have a super cool feature, however, that lets you move it up and down, effectively allowing you to bounce the flash off a ceiling when shooting indoors—so much better than the deer in the headlights look with standard, direct flash.

6. Panoramic Mode: I’m not a huge fan of having my composition dictated by the camera in this mode. I’d love for the panoramic mode on this camera to mimic that of my iPhone, where I can shoot a panoramic as wide or narrow as I choose. I also would love for this feature to be able to capture a panoramic in RAW format, thought I’m assuming there are some serious file/buffer limitations there. Regardless, it’s still nice to have the option to shoot a panoramic in-camera. I’m admittedly far too lazy when it comes to capturing/stitching panos from a grouping of images.

Conclusion
Overall, I’m a huge fan of this little camera. If you’re looking for a small, no-nonsense point & shoot that delivers huge on quality, this is it. Throughout my couple days with the camera, I kept asking myself, “would I take this on a legit assignment and/or commissioned shoot???”. The answer really depends on the shoot, and I’d probably still steer myself in the direction of my larger DSLR for most projects. But the best answer is that I absolutely COULD if needs be. It has its limitations, as one would imagine, but there’s no reason one can’t capture worthy, publishable, drool-worthy imagery with this camera. The best assessment I can give is that, for professionals accustomed to shooting larger DSLR setups, this is an unbelievably refreshing and liberating tool that doesn’t leave you feeling as though you’re cutting corners. For the advanced amateur or hobbyist, you’ll be blown away at how well it performs, though it will take a bit of practice (as does any camera) to fully utilize its potential. Well done Sony!

Click on the gallery below to see additional images from this trip with the Sony RX100 III.

Earlier this year, I was fortunate to compete in the Arc’teryx Deep Winter Photo Challenge. Conditions were GNARLY! Some of the toughest shooting conditions I’ve ever had, but my athletes were stellar, and we had a blast putting together this story. Hope you enjoy.

It likely comes as no earth-shattering revelation that I love my job (SURPRISE!!!). Tough to complain about waking up each and every day and making a living as a photographer. It’s not even close to all punch and cookies, but at this point, I can’t imaging doing anything else as a provider for my family and a seeker of everyday contentment. There are a lot of sexy things about being a photographer–traveling the globe, witnessing (and capturing) moments of grandeur and exceptional athletic prowess, searching for (and finding) natural beauty in the oddest places, getting to say “I’m a photographer” (wait–EVERYONE says that–doh), and so many more things that make being a photographer extra “cool” and especially “hip” if you’re one of those super hipster mc-hip-town photographers. But when I distill it all down to the most basic of terms, I think the thing I love very most about being a photographer is the simple fact that, if I’m very careful, and if I let myself go just enough, it allows me to be an accessory to life. Life unadulterated. Life unaltered. Life undirected.
This is an image of my son Blake…being Blake…at the beach. I was there, running alongside him, camera in hand. I was laughing with him–I could reach out and grab his hand and feel the joy, yet somehow, the camera was invisible…and we, together, captured this memory for all of time. That is, without question, the greatest thing about what I do. There have been many milestones for me personally in my short career, but the realization that I can be an accessory to life with my camera in hand is perhaps my greatest achievement yet…

With the recent explosion of photo-sharing sites on the web, it seems that landscape photography is at an all-time high. I’m consistently blown away by the caliber of imagery I see being captured the world over on a daily basis. Along with this ever-present promotion of far-flung, corner-of-the-world places comes the desire to travel to the ends of the earth to capture the most dramatic image of places few knew existed.

Did you know that over half of the world population lives in urban areas, however? This means that over 3.5 billion of us live in or near cities. Which means it’s time to polish up on those cityscape skills of yours! I enjoy shooting these concrete jungles, and with a little practice, you might find they begin to occupy a gaping hole in your travel portfolio. Read on for a few tips on how to shoot better cityscape images!

1. Shoot at Dawn and/or Dusk
This is the no-brainer, super straight-forward, can’t go wrong tip. Dawn and dusk (just before sunrise and just after sunset) are the periods of day and night when the ambient (existing) light balances with the artificial light from buildings, street lamps, cars, etc. The sky turns a deep, rich blue or indigo, the city lights pop and…VOILA! Instant cityscape! Take note that you will need a sturdy tripod and be practiced up on your long exposure shooting. Many of these images are in the range of 5 – 20 seconds, so you must take special care not to bump the camera, thus rendering the image soft.

Cityscape image of Vancouver, BC

2. Provide Some Context
Rather than just shoot frame-filling city, why not include a bit of context in the image. Take this example of Vancouver. With its beautiful walking trails winding through coastal bays, Vancouver is a thriving urban area intertwined with spectacular natural surroundings. Consider different ways to frame and present the city that you’re shooting—these types of images can be especially attractive to magazines and other editorial outlets.

Cityscape image of Seattle with storm clouds at sunset as shot from Alki Beach

3. Search Out Dramatic Weather
While I could put this tip in nearly every one of my blog posts regarding so many different types of shooting, I feel it is especially true with cityscapes. Many times, we find ourselves shooting cityscapes from iconic locations. These locations are popular for a reason, as often times they offer the best views and vantage points. This means it is not entirely uncommon to come away with an image that is quite similar to so many others out there. The one separating factor when shooting from these iconic locations that we can utilize to our advantage is dramatic weather. This image, taken from Alki Beach near Seattle, WA is nothing revolutionary in and of itself. However, I was fortunate to be rewarded with a stormy sunset, which separates it from many of the other images shot from this location.

Cityscape image of San Francisco’s Painted Ladies at dusk

4. Compress the Scene for Heightened Visual Interest
Many city overlooks feature impressive foreground and background subject matter. This serves as the perfect opportunity to pull out a telephoto lens and compress the scene. By compressing the scene, we are effectively pulling the background in very tight to our foreground, thus adding depth and dimensionality to our images which gives the viewer a much more three dimensional experience when viewing the image.

Travel image of downtown Partenkirchen, Germany at dusk

5. Use a Tilt-shift Lens for Creative Control
The tilt-shift look has become increasingly popular of late. Just bring up your Instagram feed and see how many images come up with that snow globe, dream-like feel. It’s likely that most of those images have been given the effect after capture, but if you happen to have a tilt-shift lens in your arsenal, you can capture this type of image upon clicking the shutter button. Without getting overly technical, tilt-shift lenses let you keep a “slice” of the image in focus, thus drawing the viewer’s attention to a particular part of the frame that is different, and (at times) far more effective than just shooting at shallow apertures. Given you use it modestly, this effect can be super fun, and serves as a great alternative to shooting a traditional cityscape image.

Fine art travel image of East Jerusalem, Israel in black and white

6. See in Black and White
As is apparent in this post, it seems most of the cityscape images we see are in color. However, many cities present themselves exceptionally well in monochrome. This hazy late evening image of East Jerusalem is one such example. Next time you come home from shooting cityscapes, try processing a select few in black & white. This might help you to “see” BW cityscapes in the future.

7. Try Something New
As I say with most every tutorial I write, try shedding the above “rules” of shooting better cityscapes and let your heart and creative vision guide you. Try a new angle, a new time of day or night or a different lens. Look for new and intriguing ways to capture your city. Save up some money and book a helicopter for a completely different view of what’s below. Find something that excites you, and then run with it. Good luck!

An angler makes a spey cast on the Rio Grande in Tierra del Fuego, Patagonia, Chile.

I have always loved contrasty images. When done correctly, they engage the viewer and hold our attention within the frame.

Lately, there seems to be a trend with bringing detail into every part of the image with HDR or other adjustments in post. Honestly, I love the fact that we can express our vision in so many ways through photography. I’m not at all opposed to HDR, or this growing trend–even if I don’t subscribe to it myself.

I do feel strongly, however, that the inclusion of highlights and shadows as a compositional element is all but a lost art. It’s amazing how much Mother Nature does for us if we just let her. Sometimes I have to remind myself of this as well, as I am a huge fan of being able to bring out shadowed foregrounds with the use of Grad ND filters.

Images like this of an angler on the Rio Grande (Tierra del Fuego, Chile) take on an entirely different feel when we give in to the big bad black. It is less about an activity, or even a place, and more about a graphic. It’s an oversimplification, and I truly believe that in many images, less is absolutely more.

So resist that urge to recover the shadows. Study your frame and decide what’s of greatest importance. Try letting go of that perfectly balanced exposure. By giving that up, you just might create an image that’s markedly different and better than what you’ve trained yourself to capture.

This is a common saying amongst flyfishers, and one that rings true if you’ve ever had a good bend in the rod. Here, pro angler Oliver White sets the hook like a champ against a 6-ft lemon shark in the waters of South Andros, Bahamas.

Sometimes, when capturing a sport or activity, we forget that it’s often the more intimate moments that really hit home with viewers. It may not be the prettiest or most impressive scene, but it is something that demonstrates your understanding of what really means something to the audience with which you are trying to connect.

Despite the exclusion of the bigger picture, sometimes these intimate pieces engage the viewer much more immediately and require them to explore what is actually occurring. Once discovered, there’s a sub-conscious recognition, and immediate connection.

Strive to diversify the way you capture whatever it is that you capture. Challenge yourself to tell the story in a different way. Step out of that comfortable box and try exploring a different part of the scene. It may feel a bit funny at first, but I promise you will grow as a photographer because of it!

Why: I’m going to do my best to answer this in a fairly succinct package here. Full disclaimer: this is not an in-depth printer review. Why not? Simply put–I’m a photographer, not a master printmaker. There is a stark difference. I, like you, don’t have time to mess around with this, that or the other when it comes to churning out legit prints. Yes, I want it all. No I don’t want to spend hours on end and a bucket of ink trying to dial things in for a stunning, accurate print. Can you relate? I thought so.

Judging from the subconscious nod of agreement, I’m going to assume you aren’t a master printmaker either, which means you’re going to love my quick overview. It answers the basic questions that most of us photographer types want to know and leaves all the uber scientific data/proof/testimonials to the ones that actually know how to decipher that action. You want that goodness? It’s out there for sure. Get on the Google and bury yourself in minute comparisons, data analytics and everything else the printer geek in you could ever want. There’s no question this printer will pass with flying colors. For those wanting a no frills, to-the-point approach, you’ve come to the right place.

The down and dirty is that this printer prints the way you want it to print right out of the box, and it does it all exceptionally well. How do you want it to print? Well, you (and I) want it to print quietly, quickly and, most importantly, accurately. Right? Right. The simplest understanding of monitor calibration and printer profiles for the different papers you choose will leave you with wall-worthy, archival (dependent upon paper) prints that will have family, friends and clients smitten with satisfaction.

Why am I such a fan of this printer? Firstly, it prints juuuust big enough for what I want to be printing myself. I don’t print enough to justify the expense of printer, ink and paper for anything larger than 13 x 19. I do get plenty of orders for larger prints, and I happily pass them along to my local lab, where my buddy Heath does an exceptional job. I use the 3880 for smaller print orders, personal projects, marketing materials and a host of other smaller jobs.

Secondly, this printer offers pro quality prints at a pro-sumer price. At a cost of $1,295.00, it doesn’t break the bank. Depending on how much you spend on camera gear, you’re either pulling your hair out in disgust, or giving me a virtual high five. Trust me when I tell you that $1,300 is peanuts compared against the time you’ll spend trying to get a lesser machine to do what you want it to do, right out of the box. Time is money, and yes–you do get what you pay for. Looks like there’s even a $200 rebate going on through August 31, 2014.

Thirdly–for the space-conscious, this printer won’t require a new addition to your cozy abode. It measures 27″x 15″ x 10″, and it sits on my desk along with my hard drive(s) and computer.

Fourthly–one of the cooler features of this printer is that it will automatically switch between matte or photo black ink depending on the paper profile you choose. I don’t print a whole lot on glossy papers, but it’s a nice option to have, especially knowing I don’t have to switch out the cartridge myself.

Finally, and I’m rehashing a bit here, but I’m amazed at the print quality that this relatively little machine churns out. My favorite papers are thick and meaty (recent favorite is Epson’s Cold Press Bright) , yielding exceptional texture, tonality, color and detail. With past printers, I have struggled with thicker papers, throwing away sheet after sheet of expensive paper due to a botched print for one reason or another. Knock on wood, but after nearly 24 mos. with this printer, I’ve yet to toss a print in the trash. Furthermore, I’ve yet to replace an ink cartridge after many, many prints. CAN I GET AN AMEN!?!?

So there you have it. The 3880 is a photographer’s printer. It has plug and play ease, all the while producing lab worthy prints from the comfort of your own desktop.

This image represents a milestone for me and my photography. Not because it is life-altering. Not because it is innovative. Not because it is exotic. Not because it is cutting edge. Not because it was shot with the latest and greatest equipment that cost more than my house (it was shot on my iPhone). Obviously, it is exceedingly NOT any of the above. This image changed the way I view the world and my photography for one simple reason: IT IS REAL. It is a real moment that translates to real emotion. It is a real spring evening with gorgeous, natural light. It is a real moment of friendly competition and wanderlust between my sons Ashton and Blake. And it is really great as an artist to be able to accept something that simply speaks to my heart and soul, regardless of its marketability or what it immediately says about my brand. Yes, I’ve certainly captured REAL before, but I think the real that you’ve seen has always gone through some sort of “ABP Quality Control”, making sure that the viewing public would approve in relation to what falls in line with what they’ve come to expect from a “professional”.

Just now, nearly six years into my career as a full time professional, I am finally, finally learning how to let go. I am finally embracing imperfection. I am finally not concerned about the box I’ve put myself in as a photographer. Don’t get me wrong–I like the box. I’m proud of the box. I worked hard as hell to build that box. That box is my brand, and I will always occupy that space, but finally I am not afraid to get outside of that comfortable, perfectly-within-my-control space.

I am ok if an image is not tack sharp. I’m ok if an image doesn’t cause one’s jaw to drop out of wonder and amazement. I’m ok if I’ve got blown highlights. I’m ok if it doesn’t adhere perfectly to all of the photographic rules by which I’ve abided for so long. And I can tell you that it feels fantastic. Not that I was ever burdened by my brand, but there’s a huge part of me now that feels lighter and more expressive.

For the first time ever I’ve put up a personal gallery on my website. Some of this imagery looks like me. Some of it is pretty and falls precisely in line with what you know me to be as a photographer. Some of it is slightly commercially cliche. Some of it feels like it would be more at home in a family photo album. Some of it looks completely random. Some of it has nothing do to with anything, and I’m totally ok with it. All of it, however, holds weight with me in some way, shape or form, and finally, I’m not afraid to represent it simply due to that weight alone.

As many of you no doubt do, I have terrabytes of images that have yet to see the light of day simply because they have not fallen within that mold of the brand that I have created. There’s probably some of you reading this post right now with a fair amount of apathy. And really–that’s ok. I don’t expect you to feel the weight of this moment, because it likely seems somewhat insignificant and trivial if you’ve never been here. And I can understand how, from the outside, it’s just another blog post from another photographer that thinks the creative world revolves around him. But really, that’s not it at all. This is as much a journal entry as a blog post, and if you’re here, I appreciate you sharing in this moment!

Don’t worry. I’m still here. I still love sunrise and sunset and storm light and three-dimensional compositions and bold color and the rule of thirds and…you get the point. I’m not entering some strange mid-life hipster stage (though you’d better believe I’d grow me a waxable mustache if I could), nor am I abandoning all of that upon which I’ve built my brand to this point. But finally, I’m not afraid to appear less than perfect. And no, I’m not that delusional–I know what I’ve put out there to this point has been far from perfect, but that was aways my goal. No longer am I concerned with that–I simply want to be more than trying to be perfect. And I’ve finally figured out how…

I captured this image on the 10th day of a nearly 3-week run and gun mission through the wilds of Chilean Patagonia. The impetus for the trip was really fly fishing, but I knew I would be served numerous opportunities to shoot scenic imagery as well, especially in the famed Torres del Paine National Park.

By day number ten of waking up before the sun, motivation comes more in the form of a slow, sad drip than a flood of excitement and energy. I was tired (aren’t we all???), and as I set my alarm clock for yet another mind-numbing hour, I wondered if I was really going to rise and shine, or even rise at all. Throw in the fact that skies were socked in and the likelihood of morning light was minimal, and I was darn near comatose by the time my head hit the pillow.

4:30 am came way too early, and as I peered out my window, my fears (hopes???) were confirmed as the weather still looked to be less than ideal for a sunrise shoot. I was a mixed bag of fatigue-induced emotions, equal parts stoked to justify a few more hours of sleep as well as disappointed that my hopes for an epic sunrise were dashed. I lay back down–restless. Minutes ticked by…I couldn’t do it. I had to get up. No matter how I tried to justify, I could not…not shoot. Here I was in one of the most wildly beautiful places on earth, and damn it all if a few clouds and half-closed eyelids were going to hold me back…

I frantically threw on my clothes, grabbed my pack, turned on my headlamp and out the door I went.

As part of a larger group during the entirety of this trip, I did not have my own car, so I was relegated to shooting locations that were relatively easy to get to from where we were staying. As I walked hurriedly up the dirt road, the clouds began to clear a bit, and the ambient light began to grow brighter.

Let’s clarify something real quick here–dawn is a fantastic time to shoot landscape imagery. The light is soft and inviting. It is one of my favorite types of light to shoot. Dawn, however, is incredibly fleeting. It does not occur right before sunrise. Typically, dawn happens about 8-15 minutes before sunrise. These were the thoughts that were going through my head as I watched dawn grow closer…and closer. I quickly realized that I had myself in quite a conundrum…I was still a decent ways away from my pre-selected shooting spot.

So I did what any photographer would do when suffering from the immediate effects of FOMI (Fear Of Missing It–closely related to FOMIA [fear of missing it ALL]).I STARTED RUNNING. I’m not talking casual fast-paced walk here. I’m talking Usaine Bolt arm-pumping, foaming at the mouth, heart coming through my throat sprint with a fully loaded camera pack. My lungs felt like the inside of a crematorium–I promise you I was closer to respiratory failure than Joan Rivers is to her next facial procedure…

With no time to spare, I arrived at “the spot”. I threw my pack on the ground, wrestled my camera onto the tripod, inserted the cable release, grabbed a grad filter and clicked away like the crazed photographer that I was/am. Sunrise was a bit of a bust, but dawn was worth every minute on the pain train. Moral of the story? Don’t set your alarm if you don’t plan on getting up. And if you do plan on getting up, don’t go back to bed for 10 min before putting yourself through hell to capture the goods. Oh, and the real moral of the story??? Don’t give yourself a choice. ALWAYS get up and go. I’ve never regretted getting skunked behind the lens, but I certainly wouldn’t mind taking back all the times I buried my head in the pillow…

We have officially opened registration for our 2015 Antarctica Photo Tour. This year’s adventure was absolutely jaw-dropping and unforgettable on all accounts! Click the link below for details. Contact us at adam@adambarkerphotography.com or 801-550-9141 to register or with any questions! Space is limited, and will go quickly! Antarctica is the hottest selling trip in the world right now. Don’t miss your opportunity to check this one off the bucket list!